How and when to use backstory and flashbacks & how to avoid info dumps

What’s the difference between action arcs, narrative arcs, & character arcs–and how should you use all 3 of them in your story?

What if your plot doesn’t fit the hero’s journey?

Fun ways to brainstorm your plot with friends

Why are endings so hard? What’s a coda?

Why should you take this workshop if you’re an advanced writer and already published? It’s a stretch to say that one workshop is ideal for every writer, yet many published authors are very intuitive when it comes to writing. The downside with being an intuitive writer is that when you get stuck at some point in your novel you’ve no idea how to analyze what’s wrong and fix it. This workshop will help you to clarify your understanding of the elements of narrative structure so you’ll have a knowledge base to lean on in times of trouble. Register now.

First of all, someone in the comments sections said: don’t sex workers deserve an HEA too?

*Of course* they do! Yet as Clint Eastwood said in UNFORGIVEN: “It ain’t about deserving.”

A great romance is about more than just a happy ending. THEORY: a great romance is about the specialness that a couple (or threesome) finds in each other, and the intimate connections they discover and build upon, until their love is strong and enduring.

Years ago, I got a final ‘no’ from a big publisher after getting close to a ‘yes’ with the editor. Those crushing moments are always really motivating for me. I realized I didn’t know what the f*** I was doing when it came to writing erom. My husband suggested get my heiny down to a bookstore and start doing research. I ended up getting an armful of erotic romances and THE COMPLETE IDIOT’S GUIDE TO WRITING EROTIC ROMANCE. Here was the first thing I learned:

A) Reader’s don’t like promiscuous heroines.
B) It’s okay if a heroine has been sleeping around BEFORE she meets the hero, as long as she’s miserable. But AFTER she meets him no more nookie with other men.

And–the same rules apply with the hero (or heroes as the case may be).

At first I was huffing with disapproval. It seemed an un-feminist attitude at the least. And they didn’t discuss WHY — they just said, ‘hey readers don’t like it, so boom!’

Not everybody read this book, of course. You can find TONS of erotic romances out there that breaks these rules. Yet I soon learned that when a book breaks this rule and has a promiscuous heroine I don’t like her.

On the other hand, I don’t like promiscuous heroes either. If anything, I’ve been jonesing lately on Charlotte Stein’s sexually repressed heroes. She paints a portrait of the nice guy who needs the dirty talking girl to strip the nice off of him, and let his inner, filthy, lustful desires come whiffling out. A virgin guy, a near virgin guy, a nice guy–I like ’em all!

The man-whore who sleeps all around and up and down? Him? Not so much.

Yet in the end I think it has little to do with a lack of feminism, little to do with ‘well, that’s just people’s preference, what can you do?’ and much more to do with the building blocks of romance.

It goes back to that special and intimate ideal.

A woman happily sleeping with a lot of guys and then after she’s met the hero sleeping with a lot more? Where’s the special in that?

There’s a word scientists use — fungible. That means exchangeable. Replaceable. When the heroine is sleeping around–it doesn’t mean she’s a slut. Maybe she’s a free spirit, ya? But it probably means the hero is fungible to her.

But we don’t like being considered fungible as humans. We want to believe we’re unique and irreplaceable.

On the other hand, if a hero or a heroine has slept around trying to scratch that itch, whether physically or mentally –but no one does it for them? Then suddenly THE ONE comes along–THAT’S special. THAT works. That person is giving them what no one else could, and it makes that person unique.

Same goes with intimacy. When I read a book where the hero and heroine have boinked, you know, the whole world, or had five spouses between them, etc, it’s hard for the author to establish intimacy through sex. Why? Well, they’ve been there, done that. What are they saying that they haven’t said before?

Okay, so what’s an author to do about this? I say what if the hero or heroine was still sleeping around, but there was some OTHER way in which H/h were special to each other? Some other form of intimacy that they bonded over?

You could show it in other ways. Soldiering together could do it. Hurting/caring for each other is a stable trope in fan fic, and it’s divine. I think that would work. Whatever — just as long as the erotic romance authors who violate the promiscuity ‘rule’ makes sure to nail down that special and intimate thing between the two of them in some other way.

I mean, isn’t this why we get so hung up on bromance? Isn’t this why we whinny at the whiff of homoeroticism in the air?

These ‘friends’ are learning to view each other as unique. They are having special intimate moments no one else can share. They are building a powerful bond–even without sex.

THAT’s what romance is all about, in my book.

There was this great moment in the movie HER where the main character is in love with an A.I. (an artificial intelligence operating system) named Samantha. They can’t have sex, they can’t physically be together, but it’s okay ’cause they’re in love, and they’re emotionally intimate with each other. Until…

*SPOILER ALERT* Samantha reveals that she’s in love with, oh, 641 other people as well as him. Ptank goes his heart. Not so special or unique is he? They’re intimate–but she’s intimate with many, many, many others as well. He’s not so special after all.

SO. Bring on your sex worker heroines. If she’s forced to do it (like in some Skye Warren books) then it de-facto makes all the men she’s sleeping with un-special and all the sex not intimate. So that’s not really promiscuity, is it? It satisfies the miserable with others rule.

If she is gonna boink others cause that’s how she makes bank — then sex isn’t special to her and they’ll have something else they do with just the two of them together, in private. Something that matters to them both. Something that makes them very close to each other – so close that they’ll never be able go back to just being lovers or just friends.

Then you’ve got a romance cooking, mah friends, and I’d read that puppy, no problem.

I wince a little, because you may not have an erotic romance at this point — unless the sex they have together is radically different and special (or so satisfyingly kinky) compared to the sex she has with other people.

But I mean, it’d have to be different to the point where the sex she’s having with others doesn’t even seem like sex by comparison, like it might as well be fly fishing or something.

Yet I think it can work. In the same way we like the repressed male stripped of his repressive covering, we like the shut-down-miserable-worm heroine who has numbed herself out and removed her mind elsewhere to feel herself suddenly respond, suddenly come alive. We want to see her helplessly reveal herself–her passions, her intimate desires to someone. You CAN do it, I believe, but you just have to do it the right way.

So I have a good friend, Liz Everly, with whom I’m actually starting a new blog called LADY SMUT. We were talking about the Fifty Shades of Grey success the other day and she said she thought part of what women liked was not just the erotic but also romantic aspect of the book. True, I agree I like erotic romance best. When it’s just sex I get bored at the drop of a hat. Liz said she also thought that not using the P-word or (for a guy) the C-word was important to a lot of readers.

What do you think? When you read erotic romance does the ‘dirty’ language send you to heaven or make you wince?

I myself realllllllly used to dislike the P-word. Yet by the time I was through with writing my first erotic romance, I was over it. The P-word was soft, wasn’t violent sounding…

However, right now, I’m reading LOVER ENSHRINED by J.R. WARD.

(It rocks btw. I so recommend the The Black Dagger Brotherhood Series, starting with DARK LOVER) In this novel, J.R. Ward uses the C-word (again for a guy) but sticks with “her sex” when it comes to women. Or, should I say, female vampires? ;> Yet, man, Ward can go pretty far despite this. Here’s a quote from page 326 of Lover Enshrined:

“With a growl, he lunged down and put his mouth to her, going right for the heart of her body.

They both cried out. As her hands speared his hair, he gripped her thighs hard and moved in even further. She was so warm against his lips, warm and wet, and he made her warmer and wetter as he French-kissed her sex. While she moaned, instinct overtook them both, paving the way for him to….”

Whew!

What do you think? Should erotic romance authors be dropping P-bombs or not? What about swearing? I saw a quote the other day that just about killed me. “He’d better stay away, or I’m going to punch him right in his Christmas sweater.” Loved it! This quote inspired me to think hard about how to use language more creatively and stop being such a potty mouth.

Give a shout out please, — I’m so curious to hear your thoughts.

Meanwhile, if paranormal is not your thing, and if Fifty Shades of Grey is, Liz over on her own blog site is recommending Sylvia Day’s book BARED TO YOU. Check out what Liz has to say about it here. And I hope you check both of us out at Lady Smut starting in just a few weeks!